How do creative people
create?Where do they get their ideas? For many, "brainstorm"
sessions are a starting point. But huge numbers of creative people go
through creative annuals or other books showing large amounts of work
by top creative people. (Author David Carter calls this process "solitary
brainstorming.") The Big Book of New Design Ideas was created for
this specific purpose. Each piece was selected based on its potential
to trigger an idea in the mind of the reader. Look at the logo section:
you'll see a lot of different techniques there. Suddenly, you see a logo
that "triggers" an idea. And that idea may have nothing at all
to do with the one you just saw. That's pretty much how this book works.
For everybody who uses the works of others to inspire their own ideas,
this book is the one that should be on the shelf. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Jim Krause is a genius.
This little book is capable of inspiring any graphic designer. The Idea
Index is a small book and could fit in most people's pockets. The cover
is even durable. Krause knew what he was doing when he created this book.

Idea Index kick-started
a revolution in graphic design books, unique in size, feel--and most important--wealth
of ideas. Layout Index is the next step, a compendium of layout idea-generators
that will help designers explore multiple possibilities for visual treatments
each time they turn the page. The visual and textual suggestions are divided
into eight major areas, including newsletters, flyers, posters, brochures,
advertising, stationery, page layout, and Web pages.
Each of these examples are designed to inspire effective solutions in
the viewer's mind, rather than simply give specific answers to design
problems. The tone and temperament of the design problems, as well as
their solutions, vary from traditional to cutting-edge, from corporate
to crazy. Designers will learn to solve their design problems, produce
fantastic work and become better, more creative thinkers.

As mentioned in the
introduction to the text, this book is not for professional designers.
This book is intended for those of us who need to put together a flyer,
presentation, or newsletter, but we don't have the background in design.
The design the author refers to is the design of the printed page.
The author explains simple principles that help us see what makes for
a good design like proximity, alignment, repetition, and contrast. There
are plenty of before-and-after examples to show you exactly what she means.
The explanations are also very understandable. Williams does not preach
to you, but rather helps you see the different elements which can make
the visual more effective..
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . .

A lot of time is
wasted in the creative business just doodling and waiting for one's muse
to pop in and show us the light. This book takes the sloppy creative process
and pretty much streamlines it into a more productive method of thinking
things out and solving problems.
While there are examples of real creative work, the book focuses more
on process than one product. If you're constantly living on mental post-it
notes and flying by the seat of your pants when coming up with new ideas,
this book might just be the ticket for you to get the creative process
more organized. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Ways to Collaborate
Listen. On page 28 [...]

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